Poetry International

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Poetry (from the Latin poeta, a poet) is a form of literary art in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, its apparent meaning. Poetry may be written independently, as discrete poems, or may occur in conjunction with other arts, as in poetic drama, hymns, lyrics, or prose poetry. It is published in dedicated magazines (the longest established being Poetry and Oxford Poetry), individual collections and wider anthologies.

Poetry, and discussions of it, have a long history. Early attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song, and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively informative, prosaic forms of writing, such as manifestos, biographies, essays, and novels . From the mid-20th century, poetry has sometimes been more loosely defined as a fundamental creative act using language.

Poetry often uses particular forms and conventions to suggest alternative meanings in the words, or to evoke emotional or sensual responses. Devices such as assonance, alliteration, onomatopoeia, and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor, simile, and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm.

Some forms of poetry are specific to particular cultures and genres, responding to the characteristics of the language in which the poet writes. While readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz and Rumi may think of it as being written in lines based upon rhyme and regular meter, there are traditions, such as Biblical poetry, that use other approaches to achieve rhythm and euphony. Much of modern British and American poetry is to some extent a critique of poetic tradition, playing with and testing (among other things) the principle of euphony itself, to the extent that sometimes it deliberately does not rhyme or keep to set rhythms at all. In today's globalized world poets often borrow styles, techniques and forms from diverse cultures and languages.

Poetry as an art form may predate literacy. Many ancient works, from the Indian Vedas (1700–1200 BC) and Zoroaster's Gathas (1200-900 BC) to the Odyssey (800–675 BC), appear to have been composed in poetic form to aid memorization and oral transmission, in prehistoric and ancient societies. Poetry appears among the earliest records of most literate cultures, with poetic fragments found on early monoliths, runestones, and stelae.

The oldest surviving epic poem is the Epic of Gilgamesh, from the 3rd millennium BC in Sumer (in Mesopotamia, now Iraq), which was written in cuneiform script on clay tablets and, later, papyrus. Other ancient epic poetry includes the Greek epics Iliad and Odyssey, the Old Iranian books the Gathic Avesta and Yasna, the Roman national epic, Virgil's Aeneid, and the Indian epics Ramayana and Mahabharata.

The efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in "poetics"—the study of the aesthetics of poetry. Some ancient societies, such as the Chinese through the Shi Jing, one of the Five Classics of Confucianism, developed canons of poetic works that had ritual as well as aesthetic importance. More recently, thinkers have struggled to find a definition that could encompass formal differences as great as those between Chaucer's Canterbury Tales and Matsuo Bashō's Oku no Hosomichi, as well as differences in context spanning Tanakh religious poetry, love poetry, and rap.

Context can be critical to poetics and to the development of poetic genres and forms. Poetry that records historic events in epics, such as Gilgamesh or Ferdowsi's Shahnameh, will necessarily be lengthy and narrative, while poetry used for liturgical purposes (hymns, psalms, suras, and hadiths) is likely to have an inspirational tone, whereas elegy and tragedy are meant to evoke deep emotional responses. Other contexts include Gregorian chants, formal or diplomatic speech, political rhetoric and invective, light-hearted nursery and nonsense rhymes, and even medical texts.

The Polish historian of aesthetics, Władysław Tatarkiewicz, in a paper on "The Concept of Poetry," traces the evolution of what is in fact two concepts of poetry. Tatarkiewicz points out that the term is applied to two distinct things that, as the poet Paul Valéry observed, "at a certain point find union. Poetry [...] is an art based on language. But poetry also has a more general meaning [...] that is difficult to define because it is less determinate: poetry expresses a certain state of mind."

Can you imagine a world without witches, A world with all people the same? Where the only known dragons are hiding in books, And children are terribly tame? A world without magic would be sad indeed. I cannot imagine the pain Of having a world where there's no Santa Claus, Where wizards are searched for in vain.

Can you imagine a world without spells, That science and businesses run? And think of the sadness a unicorn feels When he no longer plays in the sun Can you imagine a world without witches, No elves, and no magical pools? And can you imagine how dull it would be If all that we had were the schools?

I cannot imagine a world without witches, A world with no magical wand. A world without beauty, or even a dream, Or a wood sprite of whom to be fond They say I should grow up and be more mature, Like a normal adult ought to do. But I'd rather, at night, go to dance with a witch, And I'll bet that you feel that way, too. by Robert F. Potts

Rash war and perilous battle, their delight;And immature, and red with glorious wounds,Unpeaceful death their choice: deriving thenceA right to feast and drain immortal bowls, In Odin’s hall; whose blazing roof resoundsThe genial uproar of those shades who fallIn desperate fight, or by some brave attempt.

On the throne of many hues, Immortal Aphrodite,child of Zeus, weaving wiles--I beg younot to subdue my spirit, Queen,with pain or sorrow but come--if ever before having heard my voice from far awayyou listened, and leaving your father's golden home you came in your chariot yoked with swift, lovelysparrows bringing you over the dark earththick-feathered wings swirling downfrom the sky through mid-air arriving quickly--you, Blessed One,with a smile on your unaging faceasking again what have I sufferedand why am I calling again and in my wild heart what did I most wishto happen to me: "Again whom must I persuadeback into the harness of your love?Sappho, who wrongs you? For if she flees, soon she'll pursue,she doesn't accept gifts, but she'll give,if not now loving, soon she'll loveeven against her will." Come to me now again, release me fromthis pain, everything my spirit longs to have fulfilled, fulfill, and yoube my ally

I honor the place in youin which the entire universe dwellsI honor the place in youwhich is of love, of truth,of light, and of peaceWhen you are in that place in youand I am in that place in me♥¸¸.☆★we are one★☆.¸¸♥

spreading Love to all of you beautiful, Divine souls.You are under the protection of Love and Light.You are a Divine being, here to make the world abetter place. You are loved beyond the vastexpanses of the Universe you call home, and youare welcomed.

Redhead

The wind blows, stirs, billowing flaming tresses.A mystic magic this prize of locks possesses.Green eyes with just a hint of mischief fillAlluding to her strength, her forceful will.She is so like moonlight, like full moon's light.So pale and so perfect that it just seems right,That freckles flecked in myriad across her skin,As in the sky one looks at the stars within.And beautiful without bounds, are they and she,Without stars, where would the sky's beauty be?Not just in the brilliant sunrise flame of her hairBut how she does everything with certain flair,There is inside her, a flame that shows through,In everything large and small she chooses to do.Moods and temper flit like autumn winds blow,Not even she, knows in which direction they'll go.Love her, hate her, be her friend or just let her be,Not perfect, but close enough, she a redhead, she’s me.

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Patchwork Merchant Mercenaries had its humble beginnings as an idea of a few artisans and craftsmen who enjoy performing with live steel fighting. As well as a patchwork quilt tent canvas. Most had prior military experience hence the name.

Patchwork Merchant Mercenaries.

Vendertainers that brought many things to a show and are know for helping out where ever they can.

As well as being a place where the older hand made items could be found made by them and enjoyed by all.

We expanded over the years to become well known at what we do. Now we represent over 100 artisans and craftsman that are well known in their venues and some just starting out. Some of their works have been premiered in TV, stage and movies on a regular basis.

Specializing in Medieval, Goth , Stage Film, BDFSM and Practitioner.

Patchwork Merchant Mercenaries a Dept of, Ask For IT was started by artists and former military veterans, and sword fighters, representing over 100 artisans, one who made his living traveling from fair to festival vending medieval wares. The majority of his customers are re-enactors, SCAdians and the like, looking to build their kit with period clothing, feast gear, adornments, etc.

Likewise, it is typical for these history-lovers to peruse the tent (aka mobile store front) and, upon finding something that pleases the eye, ask "Is this period?"

A deceitful query!! This is not a yes or no question. One must have a damn good understanding of European history (at least) from the fall of Rome to the mid-1600's to properly answer. Taking into account, also, the culture in which the querent is dressed is vitally important. You see, though it may be well within medieval period, it would be strange to see a Viking wearing a Caftan...or is it?

After a festival's time of answering weighty questions such as these, I'd sleep like a log! Only a mad man could possibly remember the place and time for each piece of kitchen ware, weaponry, cloth, and chain within a span of 1,000 years!! Surely there must be an easier way, a place where he could post all this knowledge...

Traveling Within The World is meant to be such a place. A place for all of these artists to keep in touch and directly interact with their fellow geeks and re-enactment hobbyists, their clientele.